The summer movie season usually means two things: buttery blockbusters and a new film from Woody Allen. You would have to go back to 2010’s “You Will Meet A Tall Dark Stranger” for the last time Allen released a film in the fall, but this year, the director is once again skipping the warmer weather for a glitzier debut.

Amazon Studios will release the director’s new film in limited release on December 1st.

Solace is a new thriller about a retired physician with psychic powers who teams up with a pair of FBI agents on the hunt for a serial murderer terrorizing New York City. Reported to genre bending, addressing philosophical questions about the nature of life and death, while presenting a unique take on serial killer thrillers. The doctor and his law enforcement agents are in for a dangerous journey as they track the perpetrator of the series of unusual murders, who has mystic abilities of his own.

We pay tribute to the film stars and directors from around the world who sadly passed away in 2016.Hector BabencoArgentine-born Brazilian director Hector Babenco died on July 13 at 70-years-old.He found international success with Brazilian slum drama Pixote (1981), going on to make Kiss Of

We pay tribute to the film stars and directors from around the world who sadly passed away in 2016.

Argentine-born Brazilian director Hector Babenco died on July 13 at 70-years-old.

He found international success with Brazilian slum drama Pixote (1981), going on to make Kiss Of The Spider Woman (1985), for which he earned a best director Oscar nominee and William Hurt earned an Oscar win for best actor.

Spanish film and TV conglom Mediapro Group has tapped Stephen Johnstone, a former director at ad media giant Wpp’s Group M Entertainment, to launch its independent content production business in the U.K..

The London-based operation aims to co-produce with local talent, generate new intellectual properties and raise the prospect of greater collaboration between Mediapro and Group M Entertainment, Mediapro said in a statement.

Johnstone’s appointment as managing director of Mediapro Content U.K. follows those of Laura Fernandez Espeso, director of international content, and Ran Telem, head of international content development, underlining Mediapro’s ambitions for international expansion.

A co-producer alongside HBO, Sky and France’s Canal Plus of upcoming Jude Law-starrer TV series “The Young Pope,” Mediapro is seeking to further increase its creative and commercial collaborations in international drama and entertainment.

Stephen Johnstone was responsible for Group M Entertainment’s business expansion into 10 new territories throughout Europe. Previously

Madrid Confirming its ambitions to become a key player in the international market for not only original scripted but also non-scripted content, Spain’s Mediapro Group, co-producer of Jude Law-starrer “Young Pope,” has teamed with Madrid’s Phileas Productions to create and produce gameshow format “Crush.”

The new TV contest will be launched at next week’s Mipcom trade fair, co-handled by Imagina Intl. Sales, Mediapro’s international distribution arm.

“Crush” marks the first entertainment format from Mediapro since the appointment in May as head of international content development of Ran Telem, a Primetime Emmy Award-winning producer on “Homeland” and longtime V.P. of programming and content at Israel’s Keshet Broadcasting.

The format presents a team of four people – who are friends, family, neighbors or work colleagues – competing together for a big money prize. The gameshow sees them answering seven questions. Wrong answers mean they are crushed to all appearances by heavy safe-like boxes.

In the 1930s, a young Bronx native moves to Hollywood where he falls in love with the secretary of his powerful uncle, an agent to the stars. After returning to New York, he is swept up in the vibrant world of high society nightclub life.

Has Woody Allen lost it? An argument that has raged for many years since the turn of the century as to whether one of cinema’s most brilliant and witty minds had lost his mojo with films like Anything Else and You Will Meet a Tall Dark Stranger splitting fans. Recently though he has embraced change and has been on a good roll recently last year’s Irrational Man proving he still has the touch.

Ran Telem, a Primetime Emmy Award-winning producer on “Homeland” and longtime V.P. of programming and content at Israel’s Keshet Broadcasting, has joined Spain’s Mediapro Group in the newly-created post of head of international content development.

Taking up his position this week, he will responsible for furthering the development of original scripted and non-scripted at Mediapro, one of Spain’s biggest TV-film groups, as it turns ever more to international-market content as a strategic growth priority.

Telem’s oversight takes in identifying and developing ideas, whether in-house or from writers, through to international formats, tying in broadcaster partners, tapping writers and working with creatives at Mediapro offices around the world. He will work closely with Mediapro’s international arm, Imagina Intl. Sales (Iis). Telem will be based out of Spain and Israel, he said.

Mediapro’s competitive advantages, Telem said, are “first of all passion. Although it is

This review was originally published in Nathaniel's column at Towleroad. It's reprinted here in a slightly expanded version...

Few things in life are as regular as Woody Allen movies. For the past 40 years or so they arrive exactly once a year. In recent years they generally premiere out of competition at Cannes and predictably reignite the endless cycle of media wars about Woody Allen.

The only thing irregular about the experience is the reviews, box office, and Oscars. For the past 10 years or so it’s been especially hard to predict. In that time he’s delivered critical and commercial Oscar winning hits that the media fawned over (Blue Jasmine, Midnight in Paris), well received films that didn’t quite crossover to that same extent (Match Point, Vicky Cristina Barcelona), critical flops that did surprisingly okay at the box office (To Rome With Love), trifles that people tolerated (Scoop), reanimated

Kieran, here. The Cannes film festival is a peculiar animal. Its relation to the Oscar race (it's April, so I'm allowed to mention it again) is nebulous. While the festival raerly fails to deliver at least a few titles that will net multiple nominations, it's hardly the launching pad into awards season in a way similar to Toronto or (in more recent years) Telluride. And truthfully, that's one of the things that makes it so compelling to follow. Regardless of whatever criticisms one can levy against Cannes, it's hard to deny that it clearly has its own rich history and identity with different motives on its mind compared to many high profile festivals.

The lineup for the festival is replete with interesting cinematic offerings. There are certain directors who can always garner a slot on the roster (*uses quiet voice* regardles of the quality of the actual film). Even still,

Madrid – Sporting 30 offices in 20 countries, and already Spain’s biggest rights broker and a high-profile movie producer, Mediapro, one of Spain’s biggest heavyweight TV-film congloms, is making its first moves into high-end international TV co-production as, like other big ambitious companies in Europe – think Lagardere, or even Spain’s Telefonica – it zeroes in on high-end contents as a major growth driver.

Content represents “the major bet of the company for the next five years, where it aims to grow most,” said Javier Mendez, head of content at Mediapro, which also owns top Spain-based TV-film sales house Imagina Intl. Sales (Iis).

Director Lee, whose award-winning shorts have screened at the BFI London Film Festival, Slamdance Fand Sheffield Doc/Fest, has explored what might have happened if he had stayed in his local community in rural Yorkshire and begun to farm instead of leaving to study at drama school.

God’s Own Country is the story of farmer’s lad Johnny (O’Connor) who has shut

A disappointing downfall from the previous films, the appealing metaphor for nonconformity giving way to dull good-vs-evil battle and dumb plot conundrums. I’m “biast” (pro): I’ve enjoyed the previous films in the series

I’m “biast” (con): nothing

I have not read the source material

(what is this about? see my critic’s minifesto)

I’ve been onboard with the dystopian adventures of Tris Prior (Shailene Woodley: The Fault in Our Stars, The Spectacular Now) in her postapocalyptic future Chicago, but this third outing — with the fourth and final installment due next year — is a disappointing downfall from the first two films, which only just about skated by on the novelty of a very cool female action hero and the appealing metaphor for the struggle against enforced conformity her world offered. Here, in Allegiant, based on the first half of the novel of the same name,

Visionary cinematographer Vilmos Zsigmond, who escaped his native Hungary to set up in Hollywood and became one of the most acclaimed practitioners of his generation, has died aged 85 in Big Sur, California.

The cinematographer fled Budapest in 1956 with his hidden footage of Soviet forces crushing the Hungarian Revolution and along with his dear friend and fellow émigré the late László Kovács went on to establish a brilliant career in the United States.

Zsigmond and Kovács got their foothold shooting B-movies under the Americanised names William Zsigmond and Leslie Kovacs before they embarked on more illustrious projects.

The Hungarian-born Zsigmond – who filmed the Hungarian Revolution alongside his friend and fellow cinematographer László Kovács before they both relocated to Los Angeles – began his Hollywood career as a director of photography on low-budget exploitation and horror films and TV movies before he was hired by director Robert Altman – another veteran of

Working into his eighties, Zsigmond also shot a number of episodes of the Fox sitcom “The Mindy Project” from 2012-14. Zsigmond ranked among the 10 most influential cinematographers in film history in a 2003 survey conducted by the International Cinematographers Guild.

Belying his comment to Rolling Stone that “a cinematographer can only be as good as the director,

News of a possible Trainspotting sequel - based on Irvine Welsh's follow-up novel Porno, released in 2002 - has left us climbing on the ceiling with anticipation. Could director Danny Boyle really wrangle together the cast once more? And could Trainspotting 2 - as they definitely won't call it - live up to the hype?

With the 20th anniversary coming up just next year, here's what Spud and company have been up to since they all chose life...

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